Lens reviews

[Attila]

Many thanks for sample photos to everybody!! If you have time and feel to write some lines from these lenses please write here into the forum and I would like to take this review to mflenses.com lens review. Just personal impression is ok I willl do the rest to get parameters link photos etc.
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Items on sale on Ebay

35mm: Konica A4, Konica IIIA, Konica FC-1
MF: Konica Pearl I,II,III 6x4,5 Konica Semi Pearl
Film: Foma,Kodak, Fuji DIY development C41, FOMA LQR
Scan: Epson V500, scanassist (http://www.scanassist.org)
Shutter tester: LCD tester from member vfmoto
Digital: Panasonic G1, Sony Nex-3, Samsung NX100
Lenses: Konica Hexanons,Carl Zeiss,Carl Zeiss Jena,Meyer-Optik,Minolta MD,Yashica ML,Nikon,Olympus OM
DIY E-6,C41 and B&W

[Orio]

Here's one that I wrote for you, for the Elmarit-R 180 last version.
When I have time I will add for the other lenses I sent samples for.
Being back to work unfortunately I will not be as productive as in the last days.

LEICA ELMARIT-R 180 second version
This is the second and last version of this lens, much more lightweight than the predecessor and also completely changed (and much improved) optically.
After this lens, Leica produced the APO version, which is yet a different design, and a superior lens, which however costs much more.
With it's 850 gr, the Elmarit-R 180 second version is amongst the lightest 180mm lenses of the same speed. Consider for instance that the last version of the Carl Zeiss Jena 2.8/180 Sonnar weights 1400 gr. (and it's also much bulkier).
The optical performance of this Elmarit is within the standard of the last versions of Leica -R lenses. That is to say that like all last-generation Elmarits, this lens, too, is perfectly sharp already wide open. This is a real f/2.8 180mm lens, you can use the full aperture and obtain fantastic results. This feature really makes the difference when you have to shoot sports, action, street life, or wildlife, especially in low light and without a tripod.
Size, speed and performance make of this lens a perfect walkaround lens for people who like to shoot with medium teles.
Stopped down, I personally prefer the "body" and depth of the Sonnar 180's photographs, but this judgement falls within the realm of the subjective preferences. Wide open, the Elmarit is a lot sharper than the Sonnar, and has little or no light falloff in the corners (whereas the Sonnar has plenty).
Colour-wise, this lens is a typical Leica, which means it gives the pictures a slightly cool tonality. You may or may not like it. I find it a very desireable feature for portraits (I dislike the ham-red faces), but not so for landscapes, for which I prefer the more balanced colour rendition of the Carl Zeiss lenses. If the cool tonality of the Leica lenses is disturbing for you, I suggest the use of a good skylight filter (such as the B+W one). Of course when shooting digital RAW the colour tonality can be adjusted effortlessly, but for those who still shoot slides, this can be a concern.
Conclusion: I can recommend this small, relatively lightweight and fast 180mm lens to every photographer who likes to walk a lot, perhaps without tripod, and who likes to shoot live events even in not ideal lighting conditions, and therefore needs a lens that is fully useable wide open. These are the situations where this lens really shines.

full sizes images are here
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[Attila]

Thank you!
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Items on sale on Ebay

35mm: Konica A4, Konica IIIA, Konica FC-1
MF: Konica Pearl I,II,III 6x4,5 Konica Semi Pearl
Film: Foma,Kodak, Fuji DIY development C41, FOMA LQR
Scan: Epson V500, scanassist (http://www.scanassist.org)
Shutter tester: LCD tester from member vfmoto
Digital: Panasonic G1, Sony Nex-3, Samsung NX100
Lenses: Konica Hexanons,Carl Zeiss,Carl Zeiss Jena,Meyer-Optik,Minolta MD,Yashica ML,Nikon,Olympus OM
DIY E-6,C41 and B&W

[Orio]

Another review:

CARL ZEISS Distagon 2.8/25 Contax version (improved)
The Distagon 25mm is the oldest lens design by Carl Zeiss that is still in production. The first design of this lens was made for the Contarex cameras, and since then, the lens knew an uninterrupted popular success, thanks to the extraordinary sharpness in the center of the frame and the excellent results obtained with close focusing, and in spite of a design flaw that caused the corners of this lens to be below average quality until 1984, when the optical scheme was improved.
The copy that I have (serial number 7297010) is a MM lens and as such it certainly features the improved optical design (the MM standard was introduced in 1985). My copy still shows some weakness in the corners wide open, but from f/5.6 on corners are nearly perfect, something that did not happen with pre-1984 copies, where corner problems are reportedly still evident at f/8.
This lens is one of my preferred Contax lenses, because of the excellent sharpness and (in my opinion) unparalleled colour rendition and saturation. Another plus are the close-up results: being able to focus until 25 cm from the subject (in this Contax version), the Distagon 25 is a quasi-macro lens, offering results that can challenge directly dedicated macro lenses.
Another excellent feature of this lens is that the optical quality remains very high even with the iris fully closed. This allows the photographer to use the available depth-of-field in full, for gloriously detailed landscapes.
If you plan to use this lens with an adapter on a Canon DSLR camera, one word of caution: the most commonly available C/Y to EOS adapters does not allow for infinity focus with this lens. I read reports that more expensive adapters do reach infinity with this lens, but I can not confirm them. A viable workaround is to sandpaper the more common adapter, removing some metal carefully until you reach a point where focusing to infinity is obtained. I have used this method and I can happily reach infinity focus now.
The only real shortcoming of this lens (aside from the corners problem) is the price: the used Contax MM version of this lens reach very high prices, while you will often be surprised by how much lower prices the Contax AE (pre-1984) version is sold for. This of course has to do with the people being aware of the 1984 improvement and wanting to pay more for an improved copy.
In case you are not interested in the (now old) Contax version, which is out of production and only available used, you may want to think about getting the newest version of this lens, available in Nikon, Pentax bayonet and M42 mounts. This newest version (manufactured in Japan by Cosina on behalf of Zeiss) is reportedly even furtherly improved compared to the last Contax version, and features other benefits like an excellent cinematic focusing ring, rounder iris shape (due to more blades), and an astounding minimum focusing distance of 17 cm.
Conclusion: the Distagon 2.8/25 is an excellent lens which, although not perfect, offers performances that other lenses of the same focal lenght simply do not. Whether the small FOV gain compared with the much cheaper Contax 2.8/28 is worth the (often significant) higher price, will be up to you to decide. In my opinion, it absolutely is worth the extra financial effort. If I had to buy the lens now, however, I would surely go for the newest version, because the newest features (described above) are surely worth the price.
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[Attila]

Great review!
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Items on sale on Ebay

35mm: Konica A4, Konica IIIA, Konica FC-1
MF: Konica Pearl I,II,III 6x4,5 Konica Semi Pearl
Film: Foma,Kodak, Fuji DIY development C41, FOMA LQR
Scan: Epson V500, scanassist (http://www.scanassist.org)
Shutter tester: LCD tester from member vfmoto
Digital: Panasonic G1, Sony Nex-3, Samsung NX100
Lenses: Konica Hexanons,Carl Zeiss,Carl Zeiss Jena,Meyer-Optik,Minolta MD,Yashica ML,Nikon,Olympus OM
DIY E-6,C41 and B&W

[Orio]

CARL ZEISS Distagon 2/28 "Hollywood" - original Contax version
The Carl Zeiss Contax Distagon 2/28 is one of the best lenses that I have or have tried. It is wide, fast, sharp wide open, and with incredible image quality.
This lens was nicknamed "Hollywood" because the optical scheme was elaborated starting from a cinematic lens. The designer is the mythical Erhard Glatzel, considered the most innovative and creative lens designer for Zeiss in the 20th century. The Hollywood Distagon is in fact his last creature, completed shortly before he died. To create this lens, Glatzel designed many prototypes, some of which are still today considered "impossible" because for their creation Glatzel planned the use of glasses with an index of refraction that was impossible in the time he designed the lens!
The most important innovation introduced by Glatzel with this model was the floating internal element that allows the lens to be optimized for both infinite and closeup focusing. A solution that proved to be excellent and was quickly adopted also for the then new Contax version of the Distagon 1.4/35.
Glatzel was simply striving for perfection with the Distagon 2/28, and although the lens is not perfect, it comes really close. About the only small weakness that it has, there is a bit of vignetting wide open, which is almost unavoidable in a wide angle lens of this speed.
For the rest, the lens delivers an impressive performance. It even improves on the distortion figure of the mythical Zeiss Biogon 28mm. The T* multicoating is so effective on this lens, that I can shoot against the sun and still have zero flare, only the unavoidable ghosts. The coating also allows for colours that are so saturated and pure that one would think were obtained with the use of UV and Polarizer filters, while there are none.
The sharpness is already more than good wide open, and become quickly excellent between 2.8 and 5.6.
The "trademark" Zeiss 3D effect is abundant and the fast speed allows for shallow DOF effects that are usually available only on normal focal lenghts.
Even completely stopped down the lens does not lose the impressive clarity of image that is it's most prominent feature.
Conclusion: if you have some money to spend (the Distagon 2/28 is not exactly cheap even when used), this is a lens that you can buy with your eyes closed: it will not let you down. It is simply a truly professional quality lens. Zeiss has announced the revival of this lens in their new manual focus lenses lines for Nikon and Pentax mounts. The new version is slightly different from the Glatzel design, in that it features 10 elements instead of 9, but for the rest the specs appear to be the same if not even better.

http://www.mflenses.com/gallery/v/german/carl_zeiss/contax_distagon_28mm_2_8/
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[Orio]

While Attila should publish soon my 2/28 samples on his site, here's a preview.
This is the whole image, resized down to 900 px:



And this is a link to a webpage containing the full size, 100% original 5D image:

www.orio.ws/temp/Distagon2-28/distagon2-28.htm

If your browser resizes the picture, please make sure to adjust what's necessary on your browser to be able to look at the image in full 100% resolution and size.

Note the quality corner to corner...

_
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[Attila]

Incredible!
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Items on sale on Ebay

35mm: Konica A4, Konica IIIA, Konica FC-1
MF: Konica Pearl I,II,III 6x4,5 Konica Semi Pearl
Film: Foma,Kodak, Fuji DIY development C41, FOMA LQR
Scan: Epson V500, scanassist (http://www.scanassist.org)
Shutter tester: LCD tester from member vfmoto
Digital: Panasonic G1, Sony Nex-3, Samsung NX100
Lenses: Konica Hexanons,Carl Zeiss,Carl Zeiss Jena,Meyer-Optik,Minolta MD,Yashica ML,Nikon,Olympus OM
DIY E-6,C41 and B&W

[Orio]

[LucisPictor]

WOW!
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Carsten, Moderator
Things ON SALE
Carsten = "KAPCTEH" = "Karusutenu" | T-shirt?.........................My photos from Emilia: http://www.schouler.net/emilia/emilia2011.html
Sets:
Leica M8 - Voigtländer Heliar 4.5/15 & Ultron 2/28 & Ultron 1.7/35 & Heliar 2.5/75, Leica Summitar 2/50 & Elmar 4/90, Jupiter-3, Jupiter-8,
Sony NEX-7 / NEX-3 - Tamron 2.5/24, Pentax-110 2.8 (18/24/50/70), Fujian CCTV 1.7/35, Hexanon 1.8/40 & 1.4/57, Schneider-Kreuznach Tele-Xenar 3.8/75, Zuiko 2.8/100, Leica Hektor 4.5/135, Sony SEL 2.8/16 & 18-55 OSS & 55-210 OSS, Sigma EX 2.8/19 & 2.8/30
Canon EOS 5D - Zenitar 2.8/16, Rokkor 2/28, Summicron-R 2.0/50, Nikkor-SC 1.2/55, Nikkor 1.8/85, Tamron 2.5/135, Elmar 4/180, Tamron 8/500,
Tamron 2.8-3.8/35-80, Sigma EX 15-30, Sigma 1.8/24, Canon EF 1.8/50, Tokina AT-X Pro 24-200 (EOS), Sigma 70-300
Canon EOS 300D - Steinheil 2.8/35, Zuiko 1.4/50, Helios-44 2/58, Jupiter-9 2/85, Vivitar S1 2.3/135
Nikon D1 & Fuji S2 Pro - Tamron 2.5/28, MIR 2/35, Jupiter-37 3.5/135, Soligor 3.5/70-220, Tamron 18-200
Nikon D3100 - Nikkor AF-S 18-55VR, AF-S 18-70, AF-S 55-200
Ricoh KR10x - Pentax-M 1.7/50, Rikenon 3.4-4.5/35-70
Nikon F - Nikkor 2.8/24, Nikkor-SC 1.4/50 a.s.a.
Asahi Spotmatic SPII: CZJ Flek 4/20, Tamron 3.5/35-70, Industar 3.5/5cm, Mamiya 1.8/55
EXA Varex - CZJ Biogon 2/58
Leica IIIa syn & Zorki-4 - (LTM lenses)

Leica C2, Minox 35 GL,Yashica Electro 35 GS, Kodak Retina Ia, Agfa Super Silette, Vivitar Ultra Wide & Slim, Adox Golf 66 and some others...
Sigma DP1s, Leica Digilux 2, Lumix LC-5 & FX37, Lumix FZ20, Canon G2, Sony Mavica 300, Fuji 4800Z + 4900Z, Oly C3030, Pentax Optio S, Nikon CP950, Sony V1 & F505 a.s.m.
Old list: http://forum.mflenses.com/viewtopic.php?t=65 (Not up-to-date, sorry!) | http://lucispictor.weebly.com | http://www.alensaweek.wordpress.com

[Attila]

http://www.mflenses.com/Leica-2.8/180-Elmarit-R-Lens-Info.html

First review is published.
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Items on sale on Ebay

35mm: Konica A4, Konica IIIA, Konica FC-1
MF: Konica Pearl I,II,III 6x4,5 Konica Semi Pearl
Film: Foma,Kodak, Fuji DIY development C41, FOMA LQR
Scan: Epson V500, scanassist (http://www.scanassist.org)
Shutter tester: LCD tester from member vfmoto
Digital: Panasonic G1, Sony Nex-3, Samsung NX100
Lenses: Konica Hexanons,Carl Zeiss,Carl Zeiss Jena,Meyer-Optik,Minolta MD,Yashica ML,Nikon,Olympus OM
DIY E-6,C41 and B&W

[LucisPictor]

[Attila]

Thanks.

Right url is:

http://www.mflenses.com/leica-2.8-180-elmarit-r-lens-info-5.html
_________________
Attila - admin --- BUY FRESH FOMAPAN TO HELP KEEP THE FACTORY ALIVE ---
Foma Campaign topic - FOMAPAN on forum - Webshop EU

Items on sale on Ebay

35mm: Konica A4, Konica IIIA, Konica FC-1
MF: Konica Pearl I,II,III 6x4,5 Konica Semi Pearl
Film: Foma,Kodak, Fuji DIY development C41, FOMA LQR
Scan: Epson V500, scanassist (http://www.scanassist.org)
Shutter tester: LCD tester from member vfmoto
Digital: Panasonic G1, Sony Nex-3, Samsung NX100
Lenses: Konica Hexanons,Carl Zeiss,Carl Zeiss Jena,Meyer-Optik,Minolta MD,Yashica ML,Nikon,Olympus OM
DIY E-6,C41 and B&W

[LucisPictor]

Great! That's professional.
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Personal forum activity on pause!

Carsten, Moderator
Things ON SALE
Carsten = "KAPCTEH" = "Karusutenu" | T-shirt?.........................My photos from Emilia: http://www.schouler.net/emilia/emilia2011.html
Sets:
Leica M8 - Voigtländer Heliar 4.5/15 & Ultron 2/28 & Ultron 1.7/35 & Heliar 2.5/75, Leica Summitar 2/50 & Elmar 4/90, Jupiter-3, Jupiter-8,
Sony NEX-7 / NEX-3 - Tamron 2.5/24, Pentax-110 2.8 (18/24/50/70), Fujian CCTV 1.7/35, Hexanon 1.8/40 & 1.4/57, Schneider-Kreuznach Tele-Xenar 3.8/75, Zuiko 2.8/100, Leica Hektor 4.5/135, Sony SEL 2.8/16 & 18-55 OSS & 55-210 OSS, Sigma EX 2.8/19 & 2.8/30
Canon EOS 5D - Zenitar 2.8/16, Rokkor 2/28, Summicron-R 2.0/50, Nikkor-SC 1.2/55, Nikkor 1.8/85, Tamron 2.5/135, Elmar 4/180, Tamron 8/500,
Tamron 2.8-3.8/35-80, Sigma EX 15-30, Sigma 1.8/24, Canon EF 1.8/50, Tokina AT-X Pro 24-200 (EOS), Sigma 70-300
Canon EOS 300D - Steinheil 2.8/35, Zuiko 1.4/50, Helios-44 2/58, Jupiter-9 2/85, Vivitar S1 2.3/135
Nikon D1 & Fuji S2 Pro - Tamron 2.5/28, MIR 2/35, Jupiter-37 3.5/135, Soligor 3.5/70-220, Tamron 18-200
Nikon D3100 - Nikkor AF-S 18-55VR, AF-S 18-70, AF-S 55-200
Ricoh KR10x - Pentax-M 1.7/50, Rikenon 3.4-4.5/35-70
Nikon F - Nikkor 2.8/24, Nikkor-SC 1.4/50 a.s.a.
Asahi Spotmatic SPII: CZJ Flek 4/20, Tamron 3.5/35-70, Industar 3.5/5cm, Mamiya 1.8/55
EXA Varex - CZJ Biogon 2/58
Leica IIIa syn & Zorki-4 - (LTM lenses)

Leica C2, Minox 35 GL,Yashica Electro 35 GS, Kodak Retina Ia, Agfa Super Silette, Vivitar Ultra Wide & Slim, Adox Golf 66 and some others...
Sigma DP1s, Leica Digilux 2, Lumix LC-5 & FX37, Lumix FZ20, Canon G2, Sony Mavica 300, Fuji 4800Z + 4900Z, Oly C3030, Pentax Optio S, Nikon CP950, Sony V1 & F505 a.s.m.
Old list: http://forum.mflenses.com/viewtopic.php?t=65 (Not up-to-date, sorry!) | http://lucispictor.weebly.com | http://www.alensaweek.wordpress.com

[Richard_D]

Introduced in 1979 to accompany the Nikon EM and updated with a chrome ring in 1981 (mine is the latter type). Whilst treated with some derision on it's release due to the largely plastic construction the 35mm E Series in comparison to many of the consumer-oriented current Nikkors feels fairly well constructed, certainly on a par with the average AF-D prime lens, and unlike some of Nikons current offerings has a metal mount. Focusing is smooth and precise, although lacking the lovely viscosity of classic manual Nikkors. Aperture stops are easily found, although not as firm feeling as metal bodied Nikkors of the era. I suspect the lens is a lot more robust than given by first impressions. Unlike many contemporary lenses a clear depth of field scale and IR point are marked.

The lens is extremely compact and lightweight, only a little deeper than the 50mm f1.8 Series E. Close focusing goes down to a handy 30cm. Despite some internet information to the contrary the smallish front element is clearly multi-coated on my example - I don't know about the early versions before the chrome ring was added.

On a Nikon D200 the lens gives a similar field of view to a 50mm on film. As a standard lens I prefer the slightly wider view of the 28mm on a DX sensor body, however it's still a handy angle, and has the advantage that the 35mm shows no visible barrel distortion even at close range.If there is just measurable distortion I've been unable to detect it. Chromatic abberation/fringing is very well controlled, but in extreme circumstances cab just be visible when viewed full size - e.g. tree branches against a white sky. On a 1.5 crop sensored body, I can detect no visible light fall off even wide open.

Sharpness wide open is good, and very good at 5.6-8. Out of focus areas are rendered fairly smoothly, if not with the beauty of some lenses. Despite the lack of recessing of the front element the lens seems remarkably flare resistant. Contrast is not as high as the best Nikkors I've used, but more than acceptable, and colour saturation is good but not astounding.

All in all if you can cope with the slightly plasticy feel the lens is a solid performer on a digital sensor. Available secondhand for very modest sums it's a bargain alternative to other 35mm lenses.